British electro rockers Calling All Astronauts continued an inescapable trend of releasing some of the UK’s finest provocative and rousing encounters with their new album Anti-Social Network a short few weeks back. An uncaging of snarling and virulent rock ‘n’ roll with a political and emotional bite, the album showed the addictive prowess of CAA in getting bodies bouncing and thoughts exploring. Meaning for a long time to talk with the band, the outstanding album was the spark which made the time to act now. So with big thanks to band vocalist/writer/producer David Bury, we turned the spotlight on CAA and Anti-Social Network with plenty more insights in tow.
Hi David and thanks for sharing time with us.
Before we get into your new album, Anti-Social Network, can you tell us about the beginnings of Calling All Astronauts for those still new to the band? How did you all meet and what became the spark to the creation of the band?
J and I used to be in a band called US:UK together, J then went on to be in the pop-punk Caffeine. Caffeine had drawn to a standstill after numerous tours of the UK and US, we bumped into each other and just thought we’d like to have a jam for old time’s sake. One thing led to another and Calling All Astronauts was born. We originally had Andy the Caffeine drummer, but he went travelling, while he was away I decided to learn about programming drums and keys, and that’s how the sound we now have developed.
As you said all of you in the band now have experiences before and outside of Calling All Astronauts; how much has the band been shaped by those musical adventures either in where you want to go with it or in what not to get involved in again?
You learn a lot about the industry over the years; the good memories, the parties, the massive gigs are the ones you cherish, but the knowledge you gain about how the music business runs really shapes your attitude towards it.
We first caught on to the band through the single Winter Of Discontent in 2012, which was your second? This was already a lively and potent time for the band live, the playing with the likes of Echo & The Bunnymen, PWEI, Sigue Sigue Sputnik and A Place To Bury Strangers amongst your shows, and in making music as well as reactions to those early releases. What was the feeling in CAA back then and how has that differed over time, if at all?
The feeling than was actually pretty much the same as it is now, we always feel both flattered and humbled that anyone likes our music, we are just three guys recording in my lounge, yeah in modern terms that’s a studio, but it’s a lounge nonetheless; we’ve got Sky Sports on in the background, my cats walking through, and we are under the Heathrow flight path, so I regularly have to redo a vocal when a plane has been particularly low. 🙂 We do what we do; it’s a kind of love us or hate us, it’s your choice, we won’t take it personally if we are not to your tastes, but we’ll embrace you as a friend if you get what we do.
Since then singles, EPs, and an impressive debut album has come and gone; all leading to the recent release of second album Anti-Social Network. Following the band over those encounters, your music has clearly evolved and grown over time. From the inside how do you see and hear that change?
I think that is a direct reflection on my production skills. I’ve learnt so much in the last four years about how to actually make a record. We are a Rock And Roll band that works in the manner of a dance act; we pay a lot of attention to how our records sound sonically. We took a long time recording Anti-Social Network because we wanted to make an album that we’ll still be proud of as a piece of art in 25 years’ time.
Apart from personnel, how too as CAA changed mentally in regard to making music and how you deal with the music scene.
I don’t think we have actually changed much, we are all kind of set into the people we are. We do however have an increasing dislike of the mainstream music industry, and how it brainwashes kids into thinking things that are mediocre at best are amazing. If you swallow diamonds your turds with contain diamonds, but they will still be turds.
The band is seems defiantly DIY; your releases for example being uncaged on your own Supersonic Media. Has that always been the intention or just how things have worked out?
It seems that way, as yet, we’ve never sent any demos or any of our releases to any record labels. Actually I lie. I did give a copy of the first album to Brett the radio guru at Epitaph. I met him in LA and just wanted him to know how we sound rather than looking for a deal, so gave him a copy of the album, but that’s about it. We like having artistic control; yes we would be a lot bigger than we are if we were with a big indie or major, but at what artistic cost. I’m doubtful any of them would allow us to make an album as eclectic as Anti-Social Network; they want their artists to make an album of the same track 11 times, all the different variations around the same three chords.
Let us get right into Anti-Social Network now. Did you approach its writing and creation as you have previous releases or try something different in its making?
Yes pretty much, except we had Paul on board for this one. We tend to start with a drum track and built up from there, it’s quite like building a house, and as we all know, without solid foundations you may as well build your house out of straw.
You seem to have woven essences of many of your inspirations over the decades in its sound which was an extra tasty spice for us as I know we share similar favourite artists and songs from the seventies and eighties especially. Was this something you set out to do or just an organic arising from the writing?
Not really, we had a bunch of ideas, and as they grew organically into the songs they now are, we often referenced them using the names of the bands that they had a feel of. All the album sounds like us; I don’t think any of it could be called a pastiche. I think it’s maybe more a case of, band X made some amazing records, let’s see if we can make something that can stand up in its own right against what they did. It would have been the easiest thing in the world for us to make 11 tracks all sounding like Time To Fight Back or conversely Always Be True, but that’s really not what we are about. CAA to us is about making music we like, it’s not some master plan to sell millions of records; we’d rather be Clock DVA than Coldplay every day of the week.
Like many we generally call CAA an electro punk/rock band. As the new album shows, your sound is much richer and varied than that suggests. How would you describe it for newcomers?
It’s kind of like a ride on the world biggest Rock And Roll Rollercoaster. You never know whether it’s going to turn, or drop or go upside down until it’s upon you. Wow that sounds pretentious; ok, just imagine all your favourite left field rock bands since 1976, i.e. Killing Joke, Ministry, PIL, Bauhaus, New Order, Psychedelic Furs, and then getting them produced by Skrillex and Prodigy
Lyrically Anti-Social Network is as biting as ever, something easy to expect from your music, but equally there seems a thicker intimacy to some songs too. Can you give some background to 
the themes of songs and to the album in general?
I have been hoping somebody would ask this, this will be quite extensive but I’ve been longing to go through the album track by track, please feel free to edit this if you want.
- Living The Dream
I grew up in a northern town, not a city, and in towns you see people on the local music scene who are the “big cheese”, they walk around like Billy Big Bollocks, they get a little bit of interest from local radio and think all they have to do is move to the big city and world will be the oyster. When the reality is something far different, when you make that leap to pursue your dreams, you have to be prepared for the reality that you are suddenly a shrimp in an ocean of sharks.
- Empire
We are very active on social media, especially Twitter, where we have a lot of young followers, and I see their tweets about how in love they are and the next second they are broken hearted. It’s kind of sending the message that broken hearts are only temporary when you’re a teen and that you are going to fall in love many times during your life and that if one relationship doesn’t work out, move on to the next one.
- Time To Fight Back
The world and society is pretty much on the brink of imploding; if the majority of us don’t stand up and say, “enough is enough” 1% of the world’s population has 99% of the wealth. There are children dying because they don’t have clean water, how can that be right in 2016?
- Hands Up Who Wants To Die?
Is about youth crime and gang violence and how leaving the house with a weapon can lead to a whole heap of consequences due to one thoughtless move
- Life As We Know It
This is about envy and how people wish they were somebody else, it’s clichéd but life is what you make of it. If you’re happy in your life, embrace the fact you are happy and celebrate it, if you are not happy, do something about it. Sitting on your ass complaining is never going to improve things, unless you grasp the metal and go for it.
- The American Dream
It is not particularly about the US, but as the American Dream has always been held up as a goal for what people can achieve through hard work, I thought it was a good example for society as a whole, and how things have changed from the days that people left school with ambitions of professions or trades. They now want to be YouTubers or famous on Vine, they want fame from zero talent in a narcissistic shallow world.
- God Is Dead
God is a metaphor for consumerism; you don’t get consumerism without the word consume and society has become all consumed with the latest product X until they have it, and once they have it, their thirst for the net product X is instantly greater than their joy at getting the latest thing they’ve craved for.
- Always Be True
As I mentioned earlier we have a lot of young fans, this is a message to them not to bow to peer pressure. If you don’t like something or don’t want to do something never be afraid to say no, because one day, your day will come.
- Look In Your Eye
This is about the cynical people at major labels who only see artists as product and really have no feelings about the long term futures of said artists as long as they have them signed to 360 deals, make a profit and keep themselves in a job
- Black World
Is really saying, I don’t have all the answers, but if you listen to what I’m saying in my lyrics and think about them and join us in thinking that the world doesn’t have to be like this, together we can make the world a better place
- Divisive
Is about how the media and governments manipulate the news to suit their own agendas. They tell us they are doing it for righteous reasons when it’s all about greed and power and that once you turn to violence it becomes both self-perpetuating and self-defeating; hence the chant of Greed Equals Power Equals War Equals Death repeating almost to infinitum at the end because wars go on and on and only increase the misery.
Do the same things predominantly rile up the lyrical muse or are you adding to the recipe of sparks as years and records pass?
The constant in my psyche is that I don’t like inequalities in society. I’m not saying that people shouldn’t be rewarded for doing good work or being enterprising but I don’t think people should be forced to live in poverty. I just think people need to keep their eyes open and feel compassion for others, see both sides of every story; never judge people on their race colour creed, religion or lack of it, or their sexual orientation. Judge people on whether they are good people or not. While these things still exist in society, I will maintain my motivation as a lyricist.
Can you give us some insight into the recording of Anti-Social Network; any unexpected dramas and surprises?
There were no real disasters along the way, however it did take way longer than we hoped or expected it would. In all it took 2000 hours to record;, I think that’s maybe on a par with some of the 70’s prog rock bands, but you have to be truly happy with your records as you have to live with them forever once you release them.
For most artists it is fair to say that playing live is their favourite part of making music. When it comes to writing and recording something though, what is your favourite part or element?
It’s actually when people tell you that they have listened to your record and really got what you’re doing. It’s the greatest feeling in the world to know you are not the only people that think the way you do.
Is there any particular moment in Anti-Social Network which gives you an extra glow of satisfaction?
There are three parts I love; on the intro of Divisive where the combination of guitar drums and keys gives the impression of a weird pitch shift on the drop, it gets me every time. I also love the almost UK Garage drop on the middle 8 of Always Be True, and J’s guitars on Life As We Know that sound like Cellos. But we are very proud of all of it, I honestly believe there are no fillers on the album and that if we released all eleven tracks as singles, we could get radio play on all of them, I could however be delusional.
Tell us about the art work for the album which seems to sum up the air of the great release more and more every time you look at it.
It was amazing, we were trying to come up with ideas, and Paul had googled the word Anti-Social Network and up this came. It’s an actual sculpture by South African artist Maurice Mbiyaki. We contacted him and asked if we could use it on the cover, and he replied “he’d be honoured”; the rest is history. J
What is next in store for CAA fans and the band itself?
We are working on a new live set and will be out and about before too long. Time To Fight Back is set to be released as a single in June with David CAA VIP Remix and a specially recorded cover version.
Big thanks again David for chatting with us; anything you would like to add?
Not really other than a big thanks to you for being so supportive of our releases, we really do appreciate the kind words you have written about us.
And finally, give us an insight into the records and artists which could be claimed to have most inspired your own life and creativity.
Blimey, this is a massive question for me; I think I can nail it down to genres rather than actual acts, I’m very influenced by, Punk, Northern Soul, Goth, Metal, 80’s Hiphop, Synthpop, Industrial, EDM, 90s Indie, Post-Punk, Hardcore, Big Beat, Reggae, Ska, and DnB.
Check out our review of Anti-Social Network @ https://ringmasterreviewintroduces.wordpress.com/2016/03/11/calling-all-astronauts-anti-social-network/
http://www.callingallastronauts.com https://www.facebook.com/CallingAllAstronauts/ https://twitter.com/CAA_Official
Pete RingMaster
The RingMaster Review 16/04/2016
Copyright RingMaster: MyFreeCopyright
For more exploration of the independent and promotional services check out http://www.zykotika.com/
Bitter End similarly has some restraint in its gait also but welcomes thicker shadows in its climate as synths with a Nine Inch Nails like air wrap the senses. Again there is a great drama and energy in the vocals whether they emotively croon or passionately roar, a blend matched in the sound as the track blossoms turn by turn. Built on emotional and physical crescendos, the song is a magnet for the imagination, only increasing its potency with every listen, as indeed does the EP, as fresh layers are discovered.
Every track within Agony is a love song; the dark side of and fallout from inspired explorations for sure, but all seeded in love. They come with an intimacy which feels like they are echoes of their creator’s heart and experiences and makes it easy to emotionally connect with, whilst each is presented within sounds which are as infectious and hopeful as they are similarly solemn to their lyrical pleas. From the opener band and release has ears and imagination chained, and emotions basking in the pleasure given.
Men In The Sky is a Liverpool based British-Canadian collaboration consisting of band founder Gary Roberts (guitar and synths), Simon Mawson (vocals), Gavin Thomas (vocals), and Chad Montgomery (guitar). Last year saw the quartet joining Factory Records’ Michael Johnson in the studio to record and co-produce the Version 1.0.1 EP, a link-up repeated for If I Go with a freshly different but equally captivating result.
There is a darker lining to the song though and equally the lure of Pothast’s lyrical narrative. Her voice alone is siren-esque if in an understated way but though all radiance provides, as the song, a vehicle for brooding shadows which are a stronger presence in the following Cages. Straight away there is a more melancholic feel to the song, in its air and tone even as keys pulsate with melodic light around the mellower and more sombre heart of the song. The percussive coaxing of Garrett Moore adds to the warmer side of the track’s flowing landscape whilst between them Golightly and multi-instrumentalist Mason create a tapestry of melodic suggestion within an evolving sound which as good as besieges the imagination.
hint of Visage comes to the fore early on whilst an unavoidable reference to New Order, as across the EP, is swiftly offering its suasion. Soon into a pulsating stroll with melodic flourishes within an electro enticement, the song continues to swing contagiously with a funk lilted bassline and an electronic revelry leading the way. With thoughts of Depeche Mode and Pet Shop Boys in various degrees also offering their references, the overall body of the song actually reminds of early Ministry before Al found his muscular industrial aggression.